PANNA

I don't know! :-) But i know they do create. Look at a hammer. What 'intents' does it create when a child encounters it? or For a normal guy? and for a carpenter? Hammer is not designed for children, but still they are able to hold it and bash up things around them! For a normal guy, the form to an extent may communicate the function to hit a nail or a pull a nail and the intent is created. For a carpenter, its a routine of repeated use and may be of a deep association or a memory or an attachment or even hatred sometimes.....For a normal guy it may give some initial ideas, may trigger some use and later fizzles out since he has no need of it. Anyways...the point is, how do objects like tools create intents of use to different people? Intents are important to accomplish purposes. What intents are triggered to an early user of a cricketing site? What other purposes does he have? How does the nature of use set into routine?

I just don't know how to explain this. But it feels very clear to me. I was listening to Nikhilji and as usual every note he played was touching. I wondered what makes something very touching. What is a touching experience? When we create we often disturb the formless and make something called form. We make sounds, objects, visuals, language and lots of other synthetic stuff. Mostly what we expect from this form is some use,some pleasure and some memory or some intellectual kick. After that, the form becomes junk, a waste and is disposed. When Nikhilji makes sounds, he is veru careful in creating it and he knows the goal is not Rag, but the connection with the formless. The idea comes from the ancient syllable "AUM". It became symbol very later and symbol is not as significant as the syllable. AUM consists of 'A'.'U' and 'ma' the three simple sounds to connect to 'Bhraman' or the formless. It is possibly the first ever symbolic connection w...

Artistes often tend to get into this whirlpool! Audience responses! and they get tired of it easily! Its funny! Artistes depend on Audience for exchanging an Aesthetic moment! It might be good for the audience to admire,enjoy the moment and turn around but not really so encouraging for the artistes all the time! It is so simple that that artistes have to turn inside to themselves to share that aesthetic moment with themselves to be spirited and fresh. Sing for your self and the beauty of aesthetic is for yourself! There is no historical,cultural,semantic,market comparison for this! Watch Richard Foreman on Edge

Whole is made of parts Parts make the whole Whole affects parts Parts affects whole Whole is whole, part is part Nikhilji's music demonstrates how a new understanding of whole(Raag) is created. His work on parts(Swar Vistar) make a new effect of the whole(Raag) and they say Raagas are not created by man (Apourasheya). He affects the creation of 'nonman' Thats why it feels eternal. Well its damn abstract! Gestalts haven't dealt with "Whole is whole, part is part" concepts. This is very Indian! :-)

Looks like the next few posts will be most likely on Nikhilji's magic! I was listening to his "Shree". He has an absolutely beautiful insight of the rag. The rag is the framework which he can shake so that it affects us and we listen to his new magic with Rag. I see he has spent a lot of time listening and seeing the opportunity of beauty in the rag. He is the quickest artiste to establish this effect of the raga and its beauty to the listeners. After this goal, he is in mastery of what improvisations can do recreate the effect of the aspects of beauty of the rag. Rag is central in his approach. "Bandish" is there to hold the rag. Alankars are his very personal creations only to reenforce the beauty of the rag. Why Rag affects us most? A very nice thing to think about. Rag is the framework which needs to be explored to complete it. A very open opportunity to question and recreate beauty. Left to creator but yet complete. Form is bound in rag and the sense of sou...

I have a wonderful collection of Nikhilji,s sitar which I have been continuously hearing from several years. Every piece is a learning experience and i felt like sharing a secret of his approach which I think makes his artistry very special. All his attempt i think is to affect the Raj he has chosen to play. In an analogical sense, its like Rag is like a big circle, he plays small circles(alankars,gat,jod or other structures) which affect the bigger circle. This cause effect is in his conscious and beautiful spirit well tied. Rag or the bigger circle is consciously felt, understood and freely explored,aquatinted,nourished and protected. Small circles are challenges taken each time which keeps him interested and spirited. Its a bit abstract but I feel is the essence of his approach. It gives a great scope for smaller compositions through out and will benefit the artistes individual curiosity and feel and make him deeply interested and affected.

I am certainly not talking about spelling mistakes! :-) The hardest part of my pre-university was to either remember or get cleverer in temporarily knowing concepts of science and maths. It was exhausting for me since i always felt i couldn't relate to the million words or concepts in the text books. I could feel a little bit of forces, weights and tensions and i believed the physics. I could count few numbers and i believed the Math as a counting subject. After an overwhelming year, i joined the Architecture school. I was more comfortable in learning by watching buildings seeing its limitations and touching and having my own view of materials and joints. I was happier since i had lesser names to remember and more things to feel towards. This continued with my course in Industrial design where i was judging the shape of the object by the feel of my hands and eyes. Eyes was always tricky!. To justify my shape, we did use a lot of language, words describing the emotions and parts of ...

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Five years ago when I travelled around in Fountinhas (a portugese settlement at Panjim, Goa), I took pictures of a villa painted in blue. It became a picture to show in my portfolio and I was inspired by semi open spaces created by the villa. This time it stood fully decolored by the monsoon black patches, not restored and silently quiet with no people. The glory became a memory and a patched dilapedated villa stood as a sample of reality. Well fountinhas is still surviving with few colorful villas. A great place to walk. Wittly expressed windows and doors and closely knit houses creates a magnificient scale. This time I walked on on a Holi day adding color to the color colony. Click on the picture link of fountinhas to see pictures.

Siva is ready to sell his lot, he has some ideas for the display. To attract his customers, he engages himself in skillfull cutting and displaying. Chennai markets are filled with many such expressive displays. Attracting customers in busy markets forces people to innovate displays. I had only a few seconds to walk across this lovely market and this display was successful in catching my attention......I didnt get time to buy though! :)

Workshop at Satyam, Hyderabad

First year, Product Design, Course - Media Investigation

Unkal is a small village adjoining the city of Hubli. I regularly visit my aunt and love to move around the village. People are occupied with farming and some getting adjusted to the city culture around and all engaged into their daily chores. One can hear the "thut thut" sound of the making of the rotis (bhakris) and the cry of children all around. My cousin once mentioned about an old temple right in the middle of the village but didnt had any access to reach. I was naturally curious as well as excited to see it. We crossed the huts and passages and unbelievingly bumped at this astonishing piece of Indian Architecture - The Chandra Mouleshwar Temple. These days I am no more interested in the history which feels like huge burden of stories never experienced rather I was overwhelmed buy the expressive temple. It shouted elegant stone work, stories and well crafted. The temple of shiva was a delight to watch.